Significant Women for Women Forward Productions REDUCED
Queen Elizabeth I
Portrait Collection of the Yuko Nii Foundation
Danny Forrester Literary Society
As part of our Women Forward shows, the Yuko Nii Foundation will be presenting some of our historic art & ephemera featuring great women in history, including Queen Elizabeth I, Joan of Arc, Fanny Forrester, De Courcy Dewar and others.
The Faerie Queene (1590) is an epic poem by Edmund Spenser (c. 1552–1599), which follows the adventures of a number of medieval knights. The poem, draws on history and myth, including the legends of Arthur. Each book follows the adventures of a knight who represents a particular virtue (holiness, temperance, chastity, friendship, justice and courtesy) and who has that quality in him or herself tested by the plot. The Faerie Queene is an allegorical work in praise of Elizabeth I (represented by Gloriana – the Faerie Queene herself – and the virgin Belphoebe) and of Elizabethan notions of virtue.. Spenser invented a new verse form for his epic that is now known as the Spenserian stanza.
The poem is unfinished: Spenser’s original plan was for 12 bo oks, but we have just seven, the last being incomplete. The first three books were published in 1590 and the second three in 1596 and Other early editions in 1611 and 1613.
Below: The Fairie Queen by Edmund Spenser, 1613
Collection of the Yuko Nii Foundation
Queen Elizabeth I (1533–1603), French School, 18th/19th
c., mercury gilded frame, Collection Yuko Nii Foundation
From the The Fairie Queen
TO
THE MOST HIGH, MIGHTIE, AND MAGNIFICENT
EMPERESSE
RENOWNED FOR PIETIE, VERTVE, AND ALL GRATIOVS GOVERNMENT
ELIZABETH
BY THE GRACE OF GOD
Queen of England, Fraunce and Ireland, and of Virginia,
Defender of the Faith etc.
HER MOST HUMBLE SERVAUNT
EDMVND SPENSER
DOTH IN ALL HUMILITIE
DEDICATE, PRESENT, AND CONSECRATE THESE HIS LABOVRS
TO LIVE WITH THE ETERNITIE OF HER FAME.
Basalt Medallion of Queen Elizabeth by Wedgewood 1779 Collection Yuko
This medallion portrait of Queen Elizabeth was probably based upon a sixteenth-century medal and was mentioned in the 1779 sales catalog. Here Elizabeth I is not portrayed as the “snow white” ideal. She is shown as rugged and with a manly strength.
Nii Foundation
Queen Elizabeth I and the 'Mask of Youth'
Amy Moore, University of Oxford
A Trusted Source article created in partnership with the University of Oxford
“The ‘Mask of Youth’ is a term given to the portraits and miniatures of Queen Elizabeth I which adopted a standardized image of ageless beauty. Such representations of the queen were made following state proclamations which prohibited any images of Elizabeth to be distributed which gave ‘great offence’.
Strength and stability
This type of imagery arose from a government decision in 1594 to use an idealized portrait format. A possible reason for its adoption was that it was felt that any lifelike depiction of the ageing queen would reinforce instability within the realm, due to the uncertainty over the succession. The ‘Mask of Youth’ therefore offered a mechanism for Elizabeth’s government to control her image for propagandistic reasons, maintaining a strong profile of the unmarried and childless queen as still a forceful protector of the land.
Henrietta Maria of France (1609-1669) wife of King Charles I of England 17th c. portrait in original frame Collection Yuko Nii Foundation
From Wikipedia: Henrietta Maria and Charles were "dedicated and knowledgeable collectors" of paintings, including Orazio Gentileschiand the miniature painters Jean Petitot and Jacques Bourdier.
During his 1631 Northwest Passage expedition in the ship Henrietta Maria, Captain Thomas James named the north west headland of James Bay where it opens into Hudson Bay for her. The US state of Maryland was named in her honour by her husband, Charles I.
Maria-Letizia Buonaparte, known as Letizia Bonaparte, was a Corsican noblewoman, mother of Napoleon I of France. She became known as “Madame Mère” after the proclamation of the Empire. She spent her latter years in Rome where she died in February 1836.
Born: August 24, 1750, Ajaccio, France
Died: February 2, 1836, Rome, Italy
Spouse: Carlo Buonaparte (m. 1764)
Children: Louis Bonaparte, Lucien Bonaparte, Jérôme Bonaparte, and more
Théophile Pingret (30 December 1788 in Saint-Quentin, Aisne – 1875 in Paris 8e) was a French painter and lithographer.[1][2]He was born at Saint-Quentin, Aisne, the son of a middle-class family in a mainly agricultural region, but also home to the celebrated General Cambronne and to illustrious notaries and Normandy judges. Pingret's father, Henri Pingret Jullien, was related to the highest spheres of the Protestant aristocracy, and took up the practice of law in 1781.
Pingret studied under painter Jacques-Louis David as well as Jean-Baptiste Regnault. He produced outstanding portraits, including those of Emperor Napoleon Bonaparte (1808) in France and General Mariano Arista (1851; Mexico City, Mus. N. Hist.).
A Princess of the French Empire by Édouard-Henri-Théophile Pingret
To the left is a portrait in the collection of the Yuko Nii Foundation. It has a coat of arms in the upper right.
The painting on the right is by Rembrandt, the Portait of Agatha Bas in the collection of Windsor Palace.
Great Seal of Elizabeth I
“Elizabeth I used this great seal during the second half of her reign - from 1586 to 1603. It is an impression from seal matrix made of bronze and was engraved by Nicholas Hilliard, who was famous for his small paintings or miniatures. The matrix was used to create wax impressions that were used to 'seal' documents. This was a means of proving that the accompanying document had been written or approved by the owner of the seal.
“Seals were widely used by statesmen, nobles, judges, churchmen and even ordinary people. The great seal was the most important of all as the monarch used it to approve public acts and announcements. It was a powerful political tool.
The great seal of Elizabeth gives an insight into how the queen wanted to be seen. On one side, she is shown holding the sceptre and orb that are the traditional symbols of royal power. Heavenly rays above her head are a sign of her divine status. On the reverse side, Elizabeth is shown on horseback riding across a field of flowering plants. This symbolises hope and prosperity, as well as the queen's femininity. Her image is one of strength, but unlike her predecessors she is not wearing military dress. She is flanked by the symbols of her lands : the Tudor Rose OF England, the Harp of Ireland, and the Fleur - de - Lys of France. The inscription around the edge reads : 'Elizabetha dei gracia Anglie Francie et Hibernie Regina Fidei Defensor' (Elizabeth, by grace of God, Queen OF England, France AND Ireland, Defender OF the Faith ).”
Seal from the Yuko Nii Foundation Collection
The Yuko Nii Foundation English Seal of the Realm
The seal is in remarkable condition for a piece of wax over 500 years old showing nicely incised details.
Although extremely rare, The Yuko Ni Foundation owns two of her seals.
Here is the second, 1597. Notice that the image is not a clear as the first:
In the second seal of Elizabeth, the back has a different motif, a dragon and a hound rampant with crown above coat of arms:
Right: From lintel at Kings College Cambridge
The script is chancery:
QUEEN ELIZABETH I IN HER PARIAMENTARY ROBES, WIKIPEDIA
On the next page is a 16th C. original MANUSCRIPT OF AN IMPORTANT SPEECH THAT
QUEEN
ELIZABETH I GAVE BEFORE THE BRITISH PARLIAMENT ON MARCH 29, 1585 in the collection of the Yuko Nii Foundation.
Dear Mr Lindall
Thanks for your enquiry. I have consulted a colleague who is an expert in this area and he has responded:
It is printed in D’Ewes, as indicated, and in T.E. Hartley’s Proceedings in the Parliaments of Elizabeth I, ii, 31-32. What’s shown is only about half the speech – presumably it continues on the verso of this but it isn’t very clear. In no sense can it be called an ‘official parliamentary copy’. There would be no official text in 1585 – I think the first speech of this nature that was actually published was that of 1601, and the text in D’Ewes is probably not ‘official’: Hartley suggests that it was copied from a copy belonging to the historian John Stow, rather than taken from the journal. Documents like this circulated in multiple copies, usually passed from collector to collector. This speech exists in at least five copies in the British Library, one in the Bodleian, one in Cambridge University Library and one in the Scottish Record Office. The endorsement is interesting in that it tells you who lent the endorser the copy. It seems to say Mr Cotes or Coles.
I hope this is helpful., David Prior Head of Public Services and Outreach
Parliamentary Archives, Houses of Parliament, Westminster, London SW1A 0PW
In the speech Elizabeth I gives a trenchant warning to Parliament about religion, very likely on Catholicism: “One thing I may not overskip. Religion, the ground on which all other matters ought to take root, and, being corrupted, may mar all the tree. And that there be some fault-finders with the order of the clergy, which so may make a slander to myself, and to the church, whose over-ruler God hath made me, whose negligence cannot be excused, if any schisms or errors heretical were suffered. Thus much I must say, that some faults and negligences must grow and be, as in all other great charges it happeneth; and what vocation without? All which, if you, my lords of the clergy, do not amend, I mean to depose you. Look ye, therefore, well to your charges.”.
ELIZABETH I GIVES A TRENCHANT WARNING TO PARLIAMENT ABOUT RELIGION THE SAME YEAR AN ACT WAS PASSED THAT OUTLAWED ORDAINED CATHOLIC PRIESTS IN ENGLAND
Elizabeth I persecuted Catholics and approved measures that outlawed Catholicism during her long reign. The same year the present speech was given, “An act against Jesuits and seminary priests” was passed which made it treason for any Catholic priest ordained abroad after 1559 to come into or remain in England and a felony for anyone to shelter or assist such a priest, treason and felony were both punishable by death. This action consolidated English society and made it possible over the following centuries to create the greatest empire the world has ever seen.
The writing is in “secretarial hand,” most commonly used at court during the Elizabethan period. This writing style is the direct precursor to our modern handwriting.
The Journals of the House of Lords and House of Commons
In the collection of the Yuko Nii Foundation
These are the central record of business in both Houses of Parliament, in which decisions taken by either House were formally recorded. There are important differences between the journals of either House: the most noticeable is the fact that the Lords records at the beginning of each day’s proceedings those who attended on that day; the Commons Journal does not. Published 1682, first edition. First edition of the "beau-deal of an antiquary" Simond D'Ewes' "great work on the parliamentary history of Elizabeth's reign" and still the most valuable source on her parliaments; with the marvelous frontispiece depicting Elizabeth in Parliament. Complete with the final integral advert leaf, often missing
Selections from The Journals of All the Parliaments During the Reign of Queen Elizabeth, Both of the House of Lords and House of Commons. Published 1682, first edition.
The following are pages 327-329 of the journal, which chronicles the foregoing speech by Queen Elizabeth I on March 29, 1585.
From: PRIOR, David <PRIORDL@parliament.uk>
Date: Fri, Feb 12, 2021 at 7:57 AM
Subject: RE: Manuscript of speech by Queen Elizabeth
To: tlindall@gmail.com <tlindall@gmail.com>
Dear Mr Lindall
Thanks for your enquiry. I have consulted a colleague who is an expert in this area and he has responded:
It is printed in D’Ewes, as indicated, and in T.E. Hartley’s Proceedings in the Parliaments of Elizabeth I, ii, 31-32. What’s shown is only about half the speech –presumably it continues on the verso of this but it isn’t very clear. In no sense can it be called an ‘official parliamentary copy’. There would be no official text in 1585 – I think the first speech of this nature that was actually published was that of 1601, and the text in D’Ewes is probably not ‘official’: Hartley suggests that it was copied from a copy belonging to the historian John Stow, rather than taken from the journal. Documents like this circulated in multiple copies, usually passed from collector to collector. This speech exists in at least five copies in the British Library, one in the Bodleian, one in Cambridge University Library and one in the Scottish Record Office. The endorsement is interesting in that it tells you who lent the endorser the copy. It seems to say Mr Cotes or Coles.
I hope this is helpful.
David Prior
Portrait of Fanny Forrester, Poetess in the Collection of the Yuko Nii Foundation as seen on Wikipedia
Go, gentle spirit, for thy wish'd-for-rest Thy work was done; thy Savior's will obey'd. His presence was with thee, in every scene Of duty and of trial; and when He Saw fit that thou should'st leave thy toils and come To Him, 'twas best, 'twas infinitely best, To change the dimmer sphere of earth for heaven. Fanny Forrester
Princess Elizabeth, future queen Magazine Collection Yuko Nii Foundation
Boudicca, the Celtic Queen that unleashed fury on the Romans
We British are used to women commanders in war; I am descended from mighty men! But I am not fighting for my kingdom and wealth now. I am fighting as an ordinary person for my lost freedom, my bruised body, and my outraged daughters.... Consider how many of you are fighting and why! Then you will win this battle, or perish. That is what I, a woman, plan to do! let the men live in slavery if they will.
These are the words of Queen Boudicca, according to ancient historian Tacitus, as she summoned her people to unleash war upon the invading Romans in Britain. Boudicca, sometimes written Boadicea, was queen of the Iceni tribe, a Celtic clan which united a number of British tribes in revolt against the occupying forces of the Roman Empire in 60-61 AD. While she famously succeeded in defeating the Romans in three great battles, their victories would not last. The Romans rallied and eventually crushed the revolts, executing thousands of Iceni and taking the rest as slaves. Boudicca’s name has been remembered through history as the courageous warrior queen who fought for freedom from oppression, for herself, and all the Celtic tribes of Britain.
Alabaster Carving of Eve, Collection of the Yuko Nii Foundation
As seen on Wikipedia
These YNF alabasters of the Autun Adam and Eve lintels were probably done while the Autun lintels were intact before or after the 15 th century fire or before the 18th century “redecorating” and plastering or even the possible French Revolution smashing, which means somewhere between the 15 th and 18th centuries, or even back further to the 12th century. The YNF alabaster may be the only surviving replica of this Gislebertus Adam masterpiece, which makes it significant.
“Hast thou not wonderd, Adam, at my stay? Thee I have misst, and thought it long, But strange Hath bin the cause, and wonderful to heare: This Tree is not as we are told, a Tree Of danger tasted, nor to evil unknown Op'ning the way, but of Divine effect [ 865 ] To open Eyes, and make them Gods who taste
“Thus Eve with Countnance blithe her storie told; But in her Cheek distemper flushing glowd. On th' other side, Adam, soon as he heard The fatal Trespass don by Eve, amaz'd, Astonied stood and Blank, while horror chill [ 890 ] Ran through his veins, and all his joynts relax'd;”
John Milton Paradise Lost, Book 9
Portrait of Joan of Arc by Dewar. Signed, 1926 Approx 4 x 3 feet
Collection of the Yuko Nii Foundation
An Example of Dewar’s Magnificent Metalwork
De Courcy Lewthwaite Dewar (12 February 1878 – 24 November 1959)
ARTIST & SUFFRAGETT
Historical
Note from The Glasgow School of Art:
De Courcy Lewthwaite Dewar (1878–1959), metalwork designer, was born on 12 February 1878 in Kandy, Ceylon, the daughter of a tea planter, John Lewthwaite Dewar, and his wife, Amelia Cochran. Her unusual first name had been passed down through several generations in her family, by whom she was known as Kooroovi, the Tamil word for a small bird. She was one of three surviving daughters of the family. From 1891 until 1908 or 1909 she studied part time at the Glasgow School of Art. Her enamel and metalwork, which included jewelry, clock surrounds, mirror surrounds, plaques, caskets, buttons, and sconces, was frequently illustrated in The Studio. She also painted, engraved, and produced designs for bookplates, calendars, tearoom menus, and cards, as well as costumes for masques. For thirty-eight years Dewar taught design in the metalwork department of the school, during some of that period with Peter Wylie Davidson, in whose Applied Design in the Precious Metals (1929) her Presentation Casket (c.1910; Glasgow Society of Women Artists, on loan to Glasgow Museums and Art Galleries) is illustrated.
She was president of the Society of Lady Artists' Club, whose history she wrote (privately printed, 1950). Her sketchbooks of c.1895–1910 (priv. coll.), letters, and journals provide ‘a rare account of a woman designer of the Glasgow Style era’ (ibid.). Dewar was involved with the women's suffrage movement, for whom she designed bookplates, programmes, and calendars. She compiled files on women artists for the National Council of Women in London providing biographical information and reproductions of works. She did not marry and lived with her sister, Katharine, at 15 Woodside Terrace, Glasgow, until her death there on 24 November 1959.
Some of her decorative metalwork pieces were used for illustration in Applied Design in Precious Metals, a publication by her colleague Peter Wylie Davidson. Her enamel work was exhibited at the Scottish Section of the Prima Esposizione Internazionale d'Arte Decorativa Moderna in Turin in 1902.
Dewar was involved with the women's suffrage movement. She designed a banner in 1911 for use at the coronation of George V in L ondon for a fee of 30 shillings. This banner, stating 'Let Glasgow Flourish' is now held at the Glasgow Museums Resource Centre in Glasgow.[7] [8]
She wrote the History of the Glasgow Society of Lady Artist's Club, published in 1950.[10] While writing this she was the President of the Glasgow Society of Lady Artists, now known as the Glasgow Society of Women Artists.[2]
The Last Will and Testament of Frances
Dora Bowes-Lyon, Countess of Strathmore and Kinghorne
Frances Dora Bowes-Lyon, Countess of Strathmore and Kinghorne (née Smith; 29 July 1832 – 5 February 1922) was a British noblewoman. She was the paternal grandmother of Queen Elizabeth The Queen Mother, and thus a great-grandmothe r of Queen Elizabeth II. The Countess’s mother was Henrietta Mildred Hodgson (6 January 1805 – 19 November 1891) an English lady with both British royal and USA presidential genealogical connections. Through her Virginia ancestry, Queen Elizabeth II and he r descendants are related to George Washington, with Augustine Warner Jr. and his wife Mildred Reade having been their common ancestors.
Her Last Will and Testament Collection Yuko Nii Foundation
By Terrance Lindall
Information from various sources
The Williamsburg Art & Historical Center contains many paper treasures. But from the British Isles there is one set of documents which has a compelling history:
The last will of testament of Dowager Lady Strathmore, the soliiciter’s copy, hand written a nd executed at the same time as the original with original signatures.
The WAH Center houses the last will of testament of Dowager Lady Strathmore, including her marriage contract and the entire inventory of Glamis Castle. The Lady Strathmore was the moth er to the Queen Mother of England who died recently at the age of 101 years in 2002 AD. She was one of the most beloved of the British monarchs. During the Second World War, when the Nazi’s were bombing London, she refused to move to the safety of the coun tryside. preferring to remain “with her people.” The Earl of Strathmore and his wife lived in Glamis castle. One of most legended castles in the world, it is “ a soaring pile of keep and towers, turrets and battlements.” It is said to have more dark secr ets than any castle in Britain. And it has numerous ghosts. The gentlest ghost and most often seen is the "Grey Lady." She appears in the chapel.
Few families are older than the Bowes-Lyons, The Lady and Earl of Strathmore. They had their own army 600 years ago and their own private hangman. King Malcolm II of Scotland was murdered here. Shakespeare placed the murder of Duncan by Macbeth in the stone floored vaulted Duncan’s hall of the castle. And when the Queen mother was a child, she and her sisters always scuttled at top speed through this room.
Young Elizabeth at Glamis
The Queen Mother of the West Scroll, Collection of the Yuko Nii Foundation
Primary Information Source: Wikipedia and Bonhams Auction House:
The Queen Mother of the West is a goddess in Chinese religion and mythology, also worshipped in neighboring Asian countries such as Japan from ancient times. The first historical information on her can be traced back to oracle bone inscriptions of the fifteenth century BC that record sacrifices to a "Western Mother". She predates organized Taoism. From her name alone some of her most important characteristics are revealed: she is royal, female, and is associated with the west. She was the dispenser of prosperity, longevity, and e ternal bliss that took place during the second century BC when the northern and western parts of China were able to be better known because of the opening of the Silk Road.
Because she was the embodiment of yin, highest goddess, and ruler of female Transcendents, The Queen Mother was seen to have had a special relationship with all women. In the beginning section of Tu Kuang-ting's hagiography, he lists the most important functions of the Queen Mother:
"In heaven, beneath heaven, in the three worlds, and in the ten directions, all women who ascend to transcendence and attain the way are her dependents." One might consider her as Mary, the Queen Mother of Christianity, or as Eve, Mother of Mankind.
The Asian Queen Mother of the West was said to care for all woman Daoists in the universe, both perfected and aspirants. Tang writers frequently refer to her in poems about Daoist women. In accordance with the Shang Ch'ing vision expressed by Tu, she appears as teacher judge, registrar, and Guardian of female believers. Her forms reflect Tu's definitions.
The Queen Mother was held in especially high regard by Chinese women who did not represent the societal norm of the submissive woman.
in 2016 a Japanese Scroll by Satake Eikai Sold for £16,250 (US$ 21,526) inc depicting the Queen Mother of the West
Born to a family of lacquerers in Wakamatsu, Mutsu Province, Satake Eikai started his studies under a local artist before travelling to Edo, becoming chief pupil of Tani Bunchō. From 1838 he served as a retainer of the Ii Family, Lords of Hikone, rising to the honorary rank of Hōgen and continuing his association even after the assassination of Ii Naosuke in 1860. Like Bunchō he mastered a range of different painting styles including the Maruyama -Shijō-inflected signified landscape manner seen here.
From Wikipedia:
Empress Dowager Eishō (英照皇太后 , Eishō-kōtaigō, 11 January 1835 – 11 January 1897) was the empress consort of Emperor Kōmei of Japan.[1] She is also known under the technically incorrect name Empress Eishō (英照皇 后 , Eishō-kōgō).
Asako Kujo
As the daughter of Kujō Hisatada, who was a former kampaku, Kujō Asako could anticipate a life unfolding entirely within the ambit of the Imperial court; but she could not have anticipated the vast array of changes which the years would bring during her lifetime. At age 13, she was matched with Crown Prince Osahito.[2] Upon the death of Emperor Ninkō in 1846, Osahito, who succeeded him as Emperor Kōmei, named her Nyōgo, a consort position of high honor to which princesses of the blood were appointed after the time of Emperor Soon after the death of Emperor Kōmei, his successor Emperor Meiji conferred upon her the title of Empress Dowager; and she was given a posthumous name to go with her new title. This was a highly unusual gesture; and she was afterward known as Empress Dowager Eishō (英照皇太后 , Eishō kōtaigō). This specific posthumous nam e was taken from the title of a poem, "Purple Wisteria over a Deep Pool," by a T'ang dynasty poet; and it was deemed appropriate for a daughter of the Kujō family as part of the Fujiwara ("Wiste ria Field") clan.[5] When the Meiji Imperial court relocated from Kyoto to Tokyo, she followed, living first in the Akasaka Palace and then in the Aoyama Palace.[4] The empress dowager died in 1897 at age 62 and was buried at Senyū-ji, which is in Higashiyama-ku, Kyoto.[4] Her memory is officially honored at her husband's mausoleum in Kyoto, which is known as Nochi-no-tsukinowa no higashiyama no misasagi.
Franz Eckert composed "Trauermarsch" ("Deep mourning" funeral march or "Kanashimi no kiwami") for the funeral of Empress Dowager Eishō.
Emperor Meiji and his wife could not attend the funeral, but they traveled to Kyoto to pay graveside respects in the spring after her death.[7]
From Wikipedia:
Empress Dowager Eishō (英照皇太后 , Eishō-kōtaigō, 11 January 1835 –11 January 1897) was the empress consort of Emperor Kōmei of Japan.[1] She is also known under the technically incorrect name Empress Eishō (英照皇后 , Eishō-kōgō).
Asako Kujo
As the daughter of Kujō Hisatada, who was a former kampaku, Kujō
Asako could anticipate a life unfolding entirely within the ambit of the Imperial court; but she could not have anticipated the vast array of changes which the years would bring during her lifetime. At age 13, she was matched with Crown Prince Osahito.[2] Upon the death of Emperor Ninkō in 1846, Osahito, who succeeded him as Emperor Kōmei, named her Nyōgo, a consort position of high honor to which princesses of the blood were appointed after the time of Emperor. Soon after the death of Emperor Kōmei, his successor Emperor M eiji conferred upon her the title of Empress Dowager; and she was given a posthumous name to go with her new title. This was a highly unusual gesture; and she was afterward known as Empress Dowager Eishō (英照皇太后 , Eishō kōtaigō). This specific posthumous name was taken from the title of a poem, "Purple Wisteria over a Deep Pool," by a T'ang dynasty poet; and it was deemed appropriate for a daughter of the Kujō family as part of the Fujiwara ("Wisteria Field") clan.[5] When the Meiji Imperial court relocated from Kyoto to Tokyo, she followed, living first in the Akasaka Palace and then in the Aoyama Palace.[4]
The empress dowager died in 1897 at age 62 and was buried at Senyū-ji, which is in Higashiyama-ku, Kyoto.[4] Her memory is officially honored at her husband's mausoleum in Kyoto, which is known as Nochi-notsukinowa no higashiyama no misasagi. Franz Eckert composed "Trauermarsch" ("Deep mourning" funeral march or "Kanashimi no kiwami") for the funeral of Empress Dowager Eishō. Emperor Meiji and his wife could not attend the funeral, but they traveled to Kyoto to pay graveside respects in the spring after her death.[7]
Queen of Heaven
Mary Queen of Heaven
15th century French illumination from a Book of Hours
Collection of Yuko Nii Foundation: Hand Painted Miniature Portrait Of Mughal Emperor King Shah-Jahan & Queen Mumtaz. The King built the Taj Mahal to honor her. It was commissioned in 1632 by the Mughal emperor Shah Jahan (r. 1628–1658) to house the tomb of his favourite wife, Mumtaz Mahal; it also houses the tomb of Shah Jahan himself.
Mary with Jesus and John 17 th C. Oil on panel provenance Metayer & Associes in Paris.
Autograph letter from Marie Louise, wife of Napoleon
Coat of the herald of Queen Elizabeth II, gold and silver thread
